"Every week," TAYLOR SWIFT tells BILLBOARD, "we get a dozen sync requests to use 'SHAKE IT OFF' in some advertisement or 'BLANK SPACE' in some movie trailer, and we say no to every single one of them." Move over, CHRIS MATTHEWS. Let a pop singer who's currently moonlighting as a cat show you how to play hardball. It's becoming increasingly clear with each passing week that Swift isn't bluffing when she says she plans to rerecord her first six albums in an effort to blunt any and all ownership interest her old label, BIG MACHINE, and its new owner, SCOOTER BRAUN, have in her music. She wants her songs in both commercials and movies, but only "if I own it." And as the writer or co-writer of every song on all her albums, she has the leverage to say no until she gets what she wants, which is either ownership of her old masters or a drawerful of replacement masters. Her other leverage, judging by all her public comments, is that she's completely out of f***s. In a decade in which songwriters and artists have been fighting, with varying degrees of success, for digital royalties, radio royalties, profit sharing, representation, credit and control of their work, is there any leverage more powerful than that? She's Billboard's Woman of the Decade. The honor is partly for "using her industry clout to fight for artists’ rights," and she mentions to the magazine that " the girls in pop... all have each other’s numbers and text each other," which, if I was one of the suits in pop, might have me worrying a little about the decade to come. But KEWSONG LEE, co-CEO of CARLYLE GROUP, the private equity firm that helped finance Braun's purchase of Big Machine, told CNBC's SQUAWK BOX that Swift is a "wonderful artist" and "I’ve got every confidence in the world that it’s going to turn out to be a successful investment." So there's that, too... In other artists-fighting-for-their-rights news, Billboard reports in a lengthy paywalled piece that NETFLIX, while making eight-figure deals with Hollywood showrunners and filmmakers, is attempting to shortchange composers by seeking buyouts that require them to give up "all or most of the rights to their work, precluding them from receiving any backend royalties in the future," in exchange for a single upfront fee. Those backend royalties are where TV composers tend to make most of their money; upfront fees for scores and theme songs are largely eaten up by recording and other production costs, which composers pay for themselves. Netflix denies it's seeking buyouts. Billboard's KATHRYN KRANHOLD says more than three dozen composers, agents and lawyers told her otherwise, and composers CARTER BURWELL, JOHN POWELL and MIRIAM CUTLER are spearheading an initiative to help their peers fight back... Labels spending $600 million and up... because startups are spending $600 million and up... LIZZO is TIME's Entertainer of the Year... PURPLE RAIN, THE LAST WALTZ and AMADEUS have been added to the Library of Congress' National Film Registry... WEYES BLOOD at the TINY DESK... LIFETIME will air SURVIVING R. KELLY PART II: THE RECKONING in early January and a scripted series about the creation of SPOTIFY, based on the book SPOTIFY UNTOLD, is in development at Netflix, and what composer wouldn't want the gig of scoring a series, for which she'll be asked to give up her royalties, about a company that's already underpaying her? The mind reels.